2014/07/03 by Alfred L. Martin · 1 citation
Social Sciences · Economics, Econometrics and Finance · Psychology · #Media, Gender, and Advertising #Media Studies and Communication #Cinema and Media Studies #Comedy #KISS (TNC) #Representation (politics) #Reality television #Sociology #Gender studies #Psychology #Art #Visual arts #Media studies #Political science #Politics #Law #Computer science
paper · doi:10.1080/15405702.2014.921921
openalex publication_date 2014/07/03 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/29
Although the number of gay male representations on American situation comedies has increased, an examination of the ways same-sex intimacy operates within sitcoms is of paramount importance. This article traces a brief history of same-sex intimacy in sitcoms, then uses film and television stylistic analysis of the contemporary sitcoms Modern Family, Happy Endings, and The New Normal to argue that the positioning of the camera and the spatial relationship between actors is deliberate and conveys critical information. The article argues that sitcoms in the 21st century obscure same-sex kisses through camera angles, particularly the over-the-shoulder shot, and that the public/private dichotomy factors prominently into the spaces where same-sex intimacy is permissible and how such intimacy is filmed within the televisual home. Ultimately, gay representation in American network television comedy retains a conservative approach to same-sex intimacy even as it continues to include gay male characters in greater numbers.